Culturekiosque OperaNet: Interviews

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When Ildebrando D’Arcangelo is described as "the hottest thing in Opera these days," it is a winking acknowledgment of the many meanings of the term "hot." But the Italian bass-baritone superstar is charmingly self-deprecating and approachable, as our Patricia Boccadoro recently found out.

Opera editor Joel Kasow chats with Emmanuelle Haïm, a photogenic French conductor who could just as easily entice men from the cover of Esquire . Her secret: "Just don't wear a super miniskirt or a strapless dress."

The learning curve was bound to be vertical. Tony Hall, head of news at the BBC, had never worked in lyric theatre. He reckoned it would take him three months to get to grips with his next job, as executive director of the Royal Opera House. But art, like news, stands still for no man and Hall this morning finds himself having to launch a season before he is fully au fait with its particulars...

In four years, he has given $225 million to opera, ballet and orchestras - and there is more to come, much more, the planned gifts dropping into our conversation like paragliders into a disaster zone. 'I think everyone should give,' says Vilar. 'My goal is to keep this extraordinary part of my culture alive. I cannot do everything myself. I can only hope to set a standard so that other people will follow suit.'

. One of the new breed of countertenors that wants to break out of the baroque and early music ghetto, Asawa - along with David Daniels - spearheads a generation that is probably more inspired by Jochen Kowalski than Alfred Deller in terms of sound quality, stamina and above all volume. One might even apply the neologism, heldencountertenor.

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Looking and sounding considerably younger than many of her colleagues, she admitted that Salomé was no longer in her repertoire: 'I'm a little bit too full these days.' Ms. Bumbry may be the last of a line of sopranos who has sung both the leading soprano and mezzo roles in many operas: Aida, Norma, Trovatore, Troyens, Tannhaüser, among others.

While attending the enormously successful 'Three Queens' weekend in Monte Carlo (over 1000 people had to be turned away), Operanet took the opportunity to speak with John Mordler, director of the Opera.

A few days after the first performance in Lyons of the 'Châtelet' Don Carlos, Operanet took the opportunity to talk to conductor John Nelson about his experience with this production and also his long-range plans, which include some fascinating premieres.